A HANDBOOK FOR INTRODUCING UNDERGRADUATES TO THE ORGAN AND ITS LITERATURE BY PATRICK EUGENE POPE Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2015 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Katherine Strand, Research Director __________________________________ Christopher Young, Chairperson __________________________________ Mary Ann Hart __________________________________ Marilyn Keiser September 17, 2015 ii Copyright © 2015 Patrick E. Pope iii ACKNOWLEDGEMENTS The writer wishes to acknowledge his organ teachers and professors, whose instruction led to a discerned need for this handbook and its creation: Donnie Beddingfield (1994-1998); William Bates (1998-2002); Marilyn Keiser (2002-2004); Todd Wilson (2008- 2009); and Christopher Young (2009-present). Their love and passion for teaching, performing, and researching has kindled the writer’s interest in the organ, its music, and its literature. The writer is a better musician because of their wisdom and encouragement. The writer wishes to thank the Reverend Kevin Brown, rector, and the parish of Holy Comforter Episcopal Church, Charlotte, North Carolina for their encouragement during the final stages of the doctoral degree. The writer wishes to thank the members of his doctoral research committee and other faculty for their guidance and professional support: Katherine Strand, research director; Christopher Young, chairperson; Janette Fishell; Marilyn Keiser; Mary Ann Hart; and Bruce Neswick. In particular, the writer is grateful to Professor Young for his insightful and energizing classroom teaching in a four-semester organ literature survey at Indiana University, in which the writer was privileged to take part during master’s and doctoral coursework. This series of courses provided the impetus for creating this project. Finally, the writer wishes to thank his parents, Earnest and Lorraine Pope, for their unwavering support throughout his academic and creative pursuits. iv PREFACE College-level music programs have recently experienced a decline in the number of students enrolled in organ study at all levels (baccalaureate, master’s, and doctoral). Enrollment statistics between 1998-2014 from the National Association of Schools of Music illustrate this decline (see Appendix 1). In recent years, some schools have closed organ departments altogether because of a lack of enrollment, lack of necessary funding, or both; two American institutions that have done so are Northwestern University, Evanston, Illinois and New England Conservatory, Boston, Massachusetts. An educational initiative sponsored by the American Guild of Organists – weeklong Pipe Organ Encounters (POEs) for young students – has generated interest in the organ and related fields of study. Colleges and universities that remain committed to organ and sacred music programs have devoted financial resources to attracting new students of all ages and ability levels, including: construction of new instruments, the establishment of continuing education programs, the offering of workshops and colloquia, and the continued cultivation of alumni and supporters of said programs. The nature of the organ, its history, and its literature is arguably the most complex and far-reaching of any instrument. Consequently, mastery as a player and a scholar can be difficult, especially at the undergraduate level, where students are often exposed to a variety of subjects and ideas across the liberal disciplines. However, the multi-faceted history of the organ and organ literature make the instrument an ideal vehicle for introducing students to a variety of genres, national styles, distinct “organistic” sounds, as well as connecting the organ with other musical and historical concepts. v This project is a resource, in the form of a course handbook that will enable an instructor at the undergraduate level to introduce the organ to an appropriate audience, including: current organ majors; pianists with an interest in the organ; or musicologists and music historians. The project includes as part of its target audience prospective organists, in order to recruit new performers and scholars for the instrument. The project will be flexible in scope and content, centered on a series of modules that can be used over the course of an academic semester, perhaps in a studio class setting. The course handbook presents an outline of significant composers, instruments, and compositions within a chronological framework of organ history and literature. The course is not designed to be comprehensive or all-inclusive. Through reading and listening, the student will be better prepared for further study at the graduate level. There is a noticeable gap in literature and teaching materials for the organist who has had a limited or no introduction to college-level study. The AGO and several publishing companies offer resources for the beginning organist or the pianist-turned-organist. The amount of in-depth, scholarly material for the upper-level organist is ever increasing. It is the “middler” organist at which this course is primarily aimed – a course that will serve a different purpose from a beginning method book, yet less demanding or comprehensive than a multi-semester organ literature course. An informal survey of American higher educational institutions (including Indiana University) reveals no systematic approach to the teaching of organ literature at the undergraduate level, or, in most cases, even an introductory repertoire or literature course. This course aims to offer one solution in bridging that gap. vi TABLE OF CONTENTS Acknowledgements………………………………………………………………………...iv Preface……………………………………………………………………………………...v Table of Contents…………………………………………………………………………vii List of Appendices………………………………………………………………………..viii Chapter One: Description of the course……………………………………………………1 Chapter Two: Course objectives and expectations………………………………………….3 Chapter Three: Course topics and lesson strategies……………………………….………...6 Bibliography………………………………………………………………………………48 vii LIST OF APPENDICES Appendix 1: Enrollment of organ performance majors by degree, 1998-2014……..………44 Appendix 2: A rubric for critical listening…………………………………………………45 Appendix 3: A rubric for concert attendance……………………………………………...46 Appendix 4: A rubric for worship service attendance……………………………………...47 viii CHAPTER ONE: DESCRIPTION OF THE COURSE Designed as a survey, the course will engage the student in the exploration and study of organ literature from some of the earliest known literature for the instrument up to the present day. As a means of organization, the course will be guided by geographical and national trends during each of four historical eras (Renaissance, Baroque, Classic/Romantic, Modern), using organs and organ literature that are significant because of their historical, stylistic, or compositional merit. The course will explore other topics, including: the history and origins of the instrument; the organ’s place as an instrument in the church; distinctions between the piano, organ, and other keyboard instruments; and an exploration of common career options for organists. The course will be divided into modules that highlight important aspects of the organ and organ literature since the sixteenth century. The course is conceived as a point of entry to the study of organs and organ literature for undergraduate organists and non- organists alike, with a two-fold mission: 1) Engage undergraduate organists in topics that will give them a solid foundation for graduate level study 2) Encourage undergraduate non-organists through the exploration of unique aspects of the organ (construction and design; touch at the keyboard) A variety of instructional methods will be employed, including but not limited to: lecture; discussion (student- and instructor-led); listening to representative recordings; field trips to see, hear, play, and examine organs, when possible; presentations by outside experts on related topics, when possible; and score study. Because the history of the organ and organ 9 literature is intrinsically linked to geography, chronology, and national history, an effort will be made to use recordings of geographically and historically significant instruments. Just as humans in different regions of a given country speak with varied accents, organs and organ literature are best-heard and understood according to geographic location and native musical language. The course will require one text: The Cambridge Companion to the Organ, edited by Nicholas Thistlethwaite and Geoffrey Webber, published by Cambridge University Press, 1998. This course is designed for the student to earn three academic credits, meeting three times per week at fifty minutes each. 10 CHAPTER TWO: COURSE OBJECTIVES AND EXPECTATIONS 1. Students will acquire a working knowledge of literature written for the organ as it relates to historical periods and national styles. 2. Students will learn vocabulary to discuss topics appropriate to the organ and organ literature, including: basic organ construction descriptors; nomenclature for identifying stops and registers across national boundaries; and the ability to apply said vocabulary in performance situations. 3. Students will be able to identify and discuss organs that illustrate (or are considered “landmarks”